<\/p>\n
Gen\u00e7lik y\u0131llar\u0131<\/p>\n
15 Haziran 1925’te Menemen’de do\u011fdu. Karde\u015fi, oyuncu \u00c7olpan \u0130lhan’d\u0131r. \u0130lk ve orta e\u011fitiminin b\u00fcy\u00fck bir b\u00f6l\u00fcm\u00fcn\u00fc \u0130zmir’de, kalan\u0131n\u0131 ise babas\u0131n\u0131n mesle\u011fi dolay\u0131s\u0131yla gittikleri farkl\u0131 b\u00f6lgelerde tamamlad\u0131. \u0130zmir Atat\u00fcrk Lisesi birinci s\u0131n\u0131f\u0131ndayken mektupla\u015ft\u0131\u011f\u0131 bir k\u0131za yazd\u0131\u011f\u0131 Naz\u0131m Hikmet \u015fiirleriyle yakalanmas\u0131yla 1941 \u015eubat’\u0131nda, 16 ya\u015f\u0131ndayken tutukland\u0131 ve okuldan uzakla\u015ft\u0131r\u0131ld\u0131. \u00dc\u00e7 hafta g\u00f6zalt\u0131nda kald\u0131, iki ay hapis yatt\u0131. T\u00fcrkiye’nin hi\u00e7bir yerinde okuyamayaca\u011f\u0131na dair bir belge verilince, e\u011fitim hayat\u0131na ara vermek zorunda kald\u0131. Dan\u0131\u015ftay karar\u0131yla, 1944 y\u0131l\u0131nda okuma hakk\u0131n\u0131 tekrar kazand\u0131 ve \u0130stanbul I\u015f\u0131k Lisesi’ne yaz\u0131ld\u0131. Lise son s\u0131n\u0131ftayken amcas\u0131n\u0131n kendisinden habersiz kat\u0131ld\u0131\u011f\u0131 CHP \u015eiir Arma\u011fan\u0131’nda Cebbaro\u011flu Mehemmed \u015fiiriyle pek \u00e7ok \u00fcnl\u00fc \u015fairi geride b\u0131rakarak \u00fc\u00e7\u00fcnc\u00fcl\u00fck \u00f6d\u00fcl\u00fcn\u00fc ald\u0131. 1946’ta mezun oldu. \u0130stanbul Hukuk Fak\u00fcltesi’ne bulundu \u00dcniversite hayat\u0131n\u0131n ba\u015far\u0131l\u0131 ge\u00e7en y\u0131llar\u0131nda Y\u0131\u011f\u0131n ve G\u00fcn gibi dergilerde ilk \u015fiirleri yay\u0131mlanmaya ba\u015flad\u0131. Hukuk Fak\u00fcltesi\u2019ndeki y\u00fcksek \u00f6\u011frenimini yar\u0131da b\u0131rakt\u0131. 1948’de ilk \u015fiir kitab\u0131 Duvar’\u0131 kendi imk\u00e2nlar\u0131yla \u00e7\u0131kard\u0131.<\/p>\n
Paris y\u0131llar\u0131<\/p>\n
1948 y\u0131l\u0131nda, \u00fcniversite ikinci s\u0131n\u0131ftayken N\u00e2z\u0131m Hikmet’i kurtarma hareketine kat\u0131lmak \u00fczere ilk kez Paris’e gitti. Bu harekette aktif rol oynad\u0131. Frans\u0131z toplumu ve orada bulundu\u011fu \u00e7evreye ili\u015fkin g\u00f6zlemleri daha sonraki eserlerinde yer alan bir\u00e7ok karakter ve olaya temel olu\u015fturmu\u015ftur. T\u00fcrkiye’ye geri d\u00f6n\u00fc\u015f\u00fcnde ba\u015f\u0131 s\u0131k s\u0131k polisle derde girdi. Sansaryan Han’daki sorgulamalar \u00f6l\u00fcm, tehlike, gerilim temalar\u0131n\u0131n i\u015flendi\u011fi eserlerinde \u00f6nemli rol oynam\u0131\u015ft\u0131r. Bir ka\u00e7 kez g\u00f6zalt\u0131na al\u0131nd\u0131.<\/p>\n
\u0130stanbul – Paris – \u0130zmir \u00fc\u00e7geni<\/p>\n
1951 y\u0131l\u0131nda Ger\u00e7ek gazetesinde bir yaz\u0131s\u0131ndan dolay\u0131 soru\u015fturmaya u\u011fray\u0131nca Paris’e tekrar gitti. Fransa’daki bu d\u00f6nem, Attil\u00e2 \u0130lhan’\u0131n Frans\u0131zcay\u0131 ve Marksizmi \u00f6\u011frendi\u011fi y\u0131llard\u0131r. 1950’li y\u0131llar\u0131 \u0130stanbul – \u0130zmir – Paris \u00fc\u00e7geni i\u00e7erisinde ge\u00e7iren Attil\u00e2 \u0130lhan, bu d\u00f6nemde ismini yava\u015f yava\u015f T\u00fcrkiye \u00e7ap\u0131nda duyurmaya ba\u015flad\u0131. Yurda d\u00f6nd\u00fckten sonra, Hukuk Fak\u00fcltesi’ne devam etti. Ancak son s\u0131n\u0131fta gazetecili\u011fe ba\u015flamas\u0131yla beraber \u00f6\u011frenimini yar\u0131da b\u0131rakt\u0131. Sinemayla olan ili\u015fkisi, yine bu d\u00f6nemde, 1953’te Vatan gazetesinde sinema ele\u015ftirileri yazmas\u0131yla ba\u015flar.<\/p>\n
Sanatta \u00c7ok Y\u00f6nl\u00fcl\u00fck<\/p>\n
1957’de gitti\u011fi Erzincan’da askerli\u011fini yapt\u0131ktan sonra, tekrar \u0130stanbul’a d\u00f6n\u00fc\u015f yapan Attil\u00e2 \u0130lhan sinema \u00e7al\u0131\u015fmalar\u0131na a\u011f\u0131rl\u0131k verdi. Onbe\u015fe yak\u0131n senaryoya Ali Kaptano\u011flu ad\u0131yla imza att\u0131. Sinemada arad\u0131\u011f\u0131n\u0131 bulamay\u0131nca, 1960’ta Paris’e geri d\u00f6nd\u00fc. Sosyalizmin geldi\u011fi a\u015famalar\u0131 ve televizyonculu\u011fu inceledi\u011fi bu d\u00f6nem, babas\u0131n\u0131n \u00f6lmesiyle birlikte yazar\u0131n \u0130zmir d\u00f6nemini ba\u015flatt\u0131. Sekiz y\u0131l \u0130zmir’de kald\u0131\u011f\u0131 d\u00f6nemde, Demokrat \u0130zmir gazetesinin ba\u015fyazarl\u0131\u011f\u0131n\u0131 ve genel yay\u0131n y\u00f6netmenli\u011fini y\u00fcr\u00fctt\u00fc. Ayn\u0131 y\u0131llarda, \u015fiir kitab\u0131 olarak Yasak Sevi\u015fmek ve Aynan\u0131n \u0130\u00e7indekiler dizisinden B\u0131\u00e7a\u011f\u0131n Ucu yay\u0131mland\u0131. 1968’de evlendi, 17 y\u0131l evli kald\u0131.<\/p>\n
\u0130stanbul’a d\u00f6n\u00fc\u015f<\/p>\n
1973’te Bilgi Yay\u0131nevi’nin dan\u0131\u015fmanl\u0131\u011f\u0131n\u0131 \u00fcstlenerek Ankara’ya ta\u015f\u0131nd\u0131. S\u0131rtlan Pay\u0131 ve Yaraya Tuz Basmak’\u0131 Ankara’da yazd\u0131. 1981’e kadar Ankara’da kalan yazar Fena Halde Leman adl\u0131 roman\u0131n\u0131 tamamlad\u0131ktan sonra \u0130stanbul’a yerle\u015fti. \u0130stanbul’da gazetecilik ser\u00fcveni Milliyet (2 Mart 1982 – 15 Kas\u0131m 1987) ve Geli\u015fim Yay\u0131nlar\u0131 ile devam etti. Bir s\u00fcre G\u00fcne\u015f gazetesinde yazan Attil\u00e2 \u0130lhan, 1993-1996 y\u0131llar\u0131 aras\u0131nda Meydan gazetesinde yazmaya devam etti. 1996 y\u0131l\u0131ndan 2005 y\u0131l\u0131na kadar k\u00f6\u015fe yaz\u0131lar\u0131n\u0131 Cumhuriyet gazetesi’nde s\u00fcrd\u00fcrd\u00fc. 1970’lerde T\u00fcrkiye’de televizyon yay\u0131nlar\u0131n\u0131n ba\u015flamas\u0131 ve geni\u015f kitlelere ula\u015fmas\u0131yla beraber Attil\u00e2 \u0130lhan da senaryo yazmaya geri d\u00f6n\u00fc\u015f yapt\u0131.<\/p>\n
Sekiz S\u00fctuna Man\u015fet, Kartallar Y\u00fcksek U\u00e7ar ve Yar\u0131n Art\u0131k Bug\u00fcnd\u00fcr halk taraf\u0131ndan be\u011feniyle izlenilen diziler oldu.<\/p>\n
\u0130lk roman\u0131 Sokaktaki Adam yay\u0131mland\u0131\u011f\u0131nda 10 roman yazm\u0131\u015ft\u0131. Bunlar hi\u00e7 g\u00fcn \u0131\u015f\u0131\u011f\u0131na \u00e7\u0131kmad\u0131. Attil\u00e2 \u0130lhan bunun sebebini bir s\u00f6yle\u015fide \u015f\u00f6yle a\u00e7\u0131kl\u0131yor: “… bir\u00e7ok roman yazd\u0131m daha \u00f6nceden. Ama neden yay\u0131nlamad\u0131m? \u00c7ok ak\u0131ll\u0131ca bir sebebi vard\u0131. \u00c7\u00fcnk\u00fc biliyorum ki yazarlar ilk romanlar\u0131nda kendilerini anlat\u0131rlar. O da romanc\u0131l\u0131k de\u011fildir. G\u00fcnl\u00fck tutmakt\u0131r.” (D\u00fc\u015f\u00fcn, Haziran 1996).<\/p>\n
Roman ser\u00fcvenine ba\u015flad\u0131\u011f\u0131nda d\u00f6neminin di\u011fer yazarlar\u0131 daha \u00e7ok yerel ve k\u0131rsal olaylar\u0131, ki\u015fileri i\u015flerken Attil\u00e2 \u0130lhan \u015fehir insan\u0131n\u0131 T\u00fcrkiye’nin yak\u0131n d\u00f6nem tarihini siyasal, ekonomik ve sosyal yanlar\u0131yla ele alan bir yap\u0131 i\u00e7erisinde i\u015fliyordu. Sadece \u0130stanbul, \u0130zmir gibi T\u00fcrkiye’nin b\u00fcy\u00fck \u015fehirlerini, i\u015fledi\u011fi d\u00f6nemin ya\u015fam tarz\u0131n\u0131, ekonomik ve sosyal sorunlar\u0131n\u0131 kahramanlar\u0131n\u0131n g\u00f6z\u00fcyle yans\u0131tmakla yetinmiyor; ayn\u0131 zamanda, bat\u0131 k\u00fclt\u00fcr\u00fcn\u00fcn T\u00fcrkiye’ye ne \u015fekilde yans\u0131d\u0131\u011f\u0131n\u0131, olumlu ve olumsuz etkilerini, \u00e7izdi\u011fi karakterlerle ve Avrupa’daki \u015fehirlerle \u00f6rt\u00fc\u015fen bir yap\u0131 i\u00e7erisinde irdeliyordu.<\/p>\n
Haz\u0131rl\u0131k ve aray\u0131\u015f d\u00f6nemi<\/p>\n
Romanda ‘haz\u0131rl\u0131k ve aray\u0131\u015f d\u00f6nemi’ diye nitelendirilebilecek d\u00f6nemde, yay\u0131mlad\u0131\u011f\u0131 Sokaktaki Adam ve Zenciler Birbirine Benzemez’de yazar\u0131n Paris’te ya\u015fad\u0131\u011f\u0131 y\u0131llara ait deneyimlerinin ve g\u00f6zlemlerinin karakterlere yans\u0131d\u0131\u011f\u0131 g\u00f6r\u00fcl\u00fcr. Yaz\u0131ld\u0131\u011f\u0131 y\u0131llarda T\u00fcrkiye’deki bat\u0131l\u0131la\u015fma u\u011fruna toplumdan kopan ki\u015filerin bocalamalar\u0131 Sokaktaki Adam’da ele al\u0131n\u0131rken, Zenciler Birbirine Benzemez’de Avrupa’da kom\u00fcnist ve anti-kom\u00fcnist m\u00fcltecilerle kar\u015f\u0131la\u015fan, hayal k\u0131r\u0131kl\u0131\u011f\u0131na u\u011fram\u0131\u015f bir devrimci anlat\u0131l\u0131r. Her b\u00f6l\u00fcm\u00fcn farkl\u0131 bir karakterin a\u011fz\u0131ndan aktar\u0131ld\u0131\u011f\u0131 Sokaktaki Adam, Attil\u00e2 \u0130lhan’\u0131n edebiyat\u0131m\u0131za getirdi\u011fi yeni bir s\u00f6ylem olarak al\u0131nabilir. Daha sonraki romanlar\u0131nda da g\u00f6r\u00fclece\u011fi gibi, diyalektik bir yakla\u015f\u0131mla i\u015flenen olaylarda kahramanlar g\u00fc\u00e7l\u00fc ve zay\u0131f yanlar\u0131yla okura ula\u015f\u0131r; birbirlerini su\u00e7lamaz ve okuyucuda \u00f6nyarg\u0131 olu\u015fturmazlar. Attil\u00e2 \u0130lhan, Zenciler Birbirine Benzemez i\u00e7in bak\u0131n neler diyor:” Kitap ‘so\u011fuk sava\u015f’\u0131n en belal\u0131 d\u00f6neminde yaz\u0131ld\u0131, yay\u0131nland\u0131. \u00c7ok ikircikli bir sorunu tart\u0131\u015f\u0131yordum. Roman\u0131n kahraman\u0131, \u0130stanbul’daki ve Paris’teki ‘solcu’ \u00e7evrelerle d\u00fc\u015f\u00fcp kalk\u0131yor, bunlarla ili\u015fkilerini ve tart\u0131\u015fmalar\u0131n\u0131 anlat\u0131yordu, her \u015feyi oldu\u011fu gibi yazmak, roman\u0131n yay\u0131mlanmas\u0131ndan vazge\u00e7mekle e\u015fitti. Bu bak\u0131mdan, i\u00e7eri\u011fine hafif flu bir hava verdim.”<\/p>\n
Roman\u0131n dilinin farkl\u0131l\u0131\u011f\u0131n\u0131 ise yaz\u0131ld\u0131\u011f\u0131 d\u00f6nem i\u00e7erisinde yo\u011fun Frans\u0131zca \u00e7al\u0131\u015fmas\u0131na ba\u011flayan yazar, baz\u0131 c\u00fcmleleri Frans\u0131zca d\u00fc\u015f\u00fcn\u00fcp T\u00fcrk\u00e7e yazm\u0131\u015ft\u0131r.<\/p>\n
Olgunluk d\u00f6nemi<\/p>\n
Yazar\u0131n “olgunluk d\u00f6nemi” diye tan\u0131mlanabilecek edebiyat s\u00fcreci Kurtlar Sofras\u0131 ile ba\u015flar. Sokaktaki Adam’da ne istedi\u011fini de\u011fil, ne istemedi\u011fini bilen biri anlat\u0131l\u0131rken; Zenciler Birbirine Benzemez’de Mehmed-Ali istedikleri ile istemedikleri aras\u0131nda m\u00fctereddit bir karakteri yans\u0131tmaktad\u0131r. Oysa Kurtlar Sofras\u0131’nda Mahmud ne istedi\u011fini \u00e7ok iyi bilen bir karakteri \u00e7izer. Bu \u00fc\u00e7 roman\u0131yla Attil\u00e2 \u0130lhan T\u00fcrk ayd\u0131n\u0131na farkl\u0131 a\u00e7\u0131lardan bakar, fikirlerini diyalektik-materyalist bir sentez i\u00e7inde derleyerek T\u00fcrkiye i\u00e7in bir sentez \u00f6nerir- ki sonradan yazd\u0131\u011f\u0131 yedi kitapl\u0131k Aynan\u0131n \u0130\u00e7indekiler serisi de bu zemine oturmaktad\u0131r. B\u0131\u00e7a\u011f\u0131n Ucu, S\u0131rtlan Pay\u0131, Yaraya Tuz Basmak, Dersaadet’te Sabah Ezanlar\u0131, O Karanl\u0131kta Biz, Allah’\u0131n S\u00fcng\u00fcleri: Reis Pa\u015fa ve Gazi Pa\u015fa bu seriyi olu\u015fturan romanlard\u0131r. Her romanda yer alan karakterler, T\u00fcrkiye’nin tarihinde k\u00f6\u015feba\u015flar\u0131n\u0131 olu\u015fturmu\u015f d\u00f6nemlere ayna tutan ayd\u0131nlard\u0131r. Tarihi olaylar, politik ve sosyal dengelerle ele al\u0131n\u0131r. Birbirleriyle ba\u011flant\u0131s\u0131 olan karakterlerden herbiri bir romanda \u00f6n plana \u00e7\u0131kar ve olaylar onun g\u00f6zlemleriyle aktar\u0131l\u0131r. Bu serinin b\u00fct\u00fcn\u00fc irdelendi\u011finde yine, yazar\u0131n T\u00fcrk ayd\u0131n\u0131na yak\u0131n tarihimize bir bakma \u015fans\u0131 tan\u0131d\u0131\u011f\u0131n\u0131 ve kendi toplumcu-ger\u00e7ek\u00e7i bak\u0131\u015f a\u00e7\u0131s\u0131yla \u00f6nergeler sundu\u011fu g\u00f6r\u00fcl\u00fcr.<\/p>\n
Politik ara\u015ft\u0131rma ve d\u00fc\u015f\u00fcnceleri<\/p>\n
Attil\u00e2 \u0130lhan, vefat\u0131ndan \u00f6nceki son y\u0131llar\u0131n\u0131 tarih ara\u015ft\u0131rmalar\u0131na vermi\u015fti. Kendisine, Atat\u00fcrk’\u00fcn e\u015fsiz buldu\u011fu dehas\u0131n\u0131 herkesle payla\u015fma misyonunu edinmi\u015f, T\u00fcrkiye’nin yak\u0131n tarihi hakk\u0131nda d\u00fc\u015f\u00fcnd\u00fcklerini \u00e7o\u011funlukla belgelere dayand\u0131rarak televizyon ekran\u0131ndan topluma seslenme gere\u011fi duymu\u015ftu. Milli M\u00fccadele y\u0131llar\u0131n\u0131n hangi \u015fartlarda kazan\u0131ld\u0131\u011f\u0131ndan ve o d\u00f6nemin ola\u011fan\u00fcst\u00fc ruh halinden devaml\u0131 bahseder, T\u00fcrkiye’nin olas\u0131 bir Avrupa Birli\u011fi (AB) \u00fcyeli\u011finde egemenli\u011fini AB Devletleri ile payla\u015facak olmas\u0131na ise \u015fiddetle kar\u015f\u0131 \u00e7\u0131kard\u0131. Bat\u0131l\u0131 devletlerin dostlar\u0131 de\u011fil, sadece \u00e7\u0131karlar\u0131 olabilece\u011fini s\u00f6yler, onlar\u0131n s\u00f6m\u00fcrgecilik anlay\u0131\u015flar\u0131n\u0131 hemen her platformda tarih ve belgeleri ile vererek ele\u015ftirmekten \u00e7ekinmezdi. Osmanl\u0131 \u0130mparatorlu\u011fu’nun da\u011f\u0131lmas\u0131na giden s\u00fcre\u00e7te Tanzimat Ferman\u0131’n\u0131n \u00e7ok b\u00fcy\u00fck bir darbe oldu\u011funu d\u00fc\u015f\u00fcn\u00fcr, bu tarihten sonra Osmanl\u0131’n\u0131n \u00e7\u00f6z\u00fclmesinin h\u0131zland\u0131\u011f\u0131n\u0131 s\u00f6ylerdi. Mustafa Kemal’in bilgisi, dehas\u0131, yapt\u0131\u011f\u0131 hareketlerde toplumu hep arkas\u0131na almas\u0131 (te\u015fkilat\u00e7\u0131l\u0131\u011f\u0131) ve yapt\u0131\u011f\u0131 devrimlere olan hayranl\u0131\u011f\u0131n\u0131 her platformda vurgulayan Attil\u00e2 \u0130lhan; onun, yapt\u0131\u011f\u0131 devrimlerde Fransa’y\u0131 \u00f6rnek almas\u0131na ra\u011fmen Avrupa devletleri ile kurdu\u011fu mesafeli ili\u015fkileri her zaman \u00f6vmekten geri durmad\u0131. G\u00e2zi’nin \u00f6l\u00fcm\u00fcnden sonra \u0130smet \u0130n\u00f6n\u00fc’n\u00fcn bat\u0131 yanl\u0131s\u0131 kararlar\u0131n\u0131 ise her zaman ele\u015ftirdi. G\u00fcn\u00fcm\u00fcz ayd\u0131nlar\u0131n\u0131n \u00e7o\u011funun bat\u0131 yanl\u0131 duru\u015flar\u0131 oldu\u011funu s\u00f6yleyip onlar\u0131 halk\u0131 tan\u0131mamakla ele\u015ftirir, eski halkla b\u00fct\u00fcnle\u015fmi\u015f ve millet \u00e7\u0131karlar\u0131 i\u00e7in hareket eden ayd\u0131n tiplerinin art\u0131k yok olma a\u015famas\u0131na geldi\u011fini s\u00f6ylerdi. \u00dcniversite \u00f6\u011frencilerince yap\u0131lan eylemlerin bir hedefe varamayaca\u011f\u0131n\u0131, s\u00f6yler, Frans\u0131z Devrimi’nin i\u015f\u00e7i s\u0131n\u0131f\u0131 taraf\u0131ndan yap\u0131ld\u0131\u011f\u0131ndan dem vururdu. T\u00fcrkiye’de i\u015f\u00e7i s\u0131n\u0131f\u0131n\u0131 temsil eden bir siyas\u00ee partinin bulunmad\u0131\u011f\u0131n\u0131, bunun ger\u00e7ek demokrasinin \u00f6n\u00fcnde engel oldu\u011funu s\u00f6yler ama b\u00f6yle bir partinin bir g\u00fcn kurulaca\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcrd\u00fc. Halka ra\u011fmen yap\u0131lacak olan hi\u00e7bir \u015feyin uzun s\u00fcreli olamayaca\u011f\u0131n\u0131 ise her zaman tekrarlamaktan geri durmad\u0131. Anlatt\u0131\u011f\u0131 veya yazd\u0131\u011f\u0131 olaylara hakim olmas\u0131, kimsenin ki\u015fili\u011fine sald\u0131rmamaya \u00f6zen g\u00f6stermesi, onun, her kesimden insan taraf\u0131ndan takdir kazanmas\u0131n\u0131 sa\u011flam\u0131\u015ft\u0131r. Atill\u00e2 \u0130lhan….<\/p>\n
\u00d6l\u00fcm\u00fc<\/p>\n
Attil\u00e2 \u0130lhan ilk kalp krizini 1985 y\u0131l\u0131nda ge\u00e7irdi. Bu tarihten sonra kardiyolojik sorunlar\u0131 devam eden \u0130lhan’\u0131n 2004’ten itibaren sa\u011fl\u0131k durumu daha da bozuldu. 11 Ekim 2005’te \u0130stanbul’daki evinde ge\u00e7irdi\u011fi ikinci kalp krizi sonucu hayata veda etti\u011finde 80 ya\u015f\u0131ndayd\u0131.<\/p>\n
2003 Sertel Demokrasi \u00d6d\u00fcl\u00fc’ne lay\u0131k g\u00f6r\u00fclm\u00fc\u015ft\u00fcr.<\/p>\n
\u00a0<\/p>\n
Attila \u0130LHAN \u015fiirlerini sitemizde bulabilirsiniz<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":" Gen\u00e7lik y\u0131llar\u0131 15 Haziran 1925’te Menemen’de do\u011fdu. Karde\u015fi, oyuncu \u00c7olpan \u0130lhan’d\u0131r. \u0130lk ve orta e\u011fitiminin b\u00fcy\u00fck bir b\u00f6l\u00fcm\u00fcn\u00fc \u0130zmir’de, kalan\u0131n\u0131 ise babas\u0131n\u0131n mesle\u011fi dolay\u0131s\u0131yla gittikleri farkl\u0131 b\u00f6lgelerde tamamlad\u0131. \u0130zmir Atat\u00fcrk Lisesi birinci s\u0131n\u0131f\u0131ndayken mektupla\u015ft\u0131\u011f\u0131 bir k\u0131za yazd\u0131\u011f\u0131 Naz\u0131m Hikmet \u015fiirleriyle yakalanmas\u0131yla 1941 \u015eubat’\u0131nda, 16 ya\u015f\u0131ndayken tutukland\u0131 ve okuldan uzakla\u015ft\u0131r\u0131ld\u0131. \u00dc\u00e7 hafta g\u00f6zalt\u0131nda kald\u0131, iki ay […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11],"tags":[],"class_list":{"0":"post-367","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-attila-ilhan"},"yoast_head":"\n